FOOTNOTES:
[77] Cibber did not offer to do it; he was indeed rather forced into the part. His own words are:—"I durst not refuse."
[78] January 1695-96; that is, 1696.
[79] "The London Cuckolds" ceased to be an institution on Lord Mayor's Day within fifty years of this time.
[80] There is every reason to believe that Sandford never played Richard; and, indeed, the play does not seem to have been produced once during his career. Cibber says he founded his playing on the general style of Sandford, trying to act as he thought Sandford would have done.
[81] Cibber certainly kept his temper, but he can hardly be said to have been specially courteous, when his most powerful weapon was a story of Pope's misadventure in a house of ill-fame.
DUBLIN THEATRE ROYAL.
[CHAPTER XIV.]
ENGLAND AND IRELAND.
The season of 1757-58 was the last of the series during which Barry opposed Garrick. At the close of it, Spranger proceeded to Dublin, taking with him, from Drury Lane, versatile Woodward, to retain whom Garrick would not increase his salary.
At Drury, Garrick brought out Home's "Agis," with a cast including himself, Mossop, and Mrs. Cibber; Mrs. Pritchard, and Mrs. Yates! The piece failed notwithstanding.[82] Walpole would not praise it, and the angry author would never speak, or even bow to him, afterwards. Gray compared this piece to an antique statue which Home had painted white and red, and dressed in a negligée, made by a York mantua-maker! Other critics found in "Agis," Charles I. treacherously dealt with by the Scots, whereby the author had intended to punish his nation for its bigotry with regard to the drama generally, and "Douglas" in particular. Walpole added that Home was a goose for writing a second tragedy at all, after having succeeded so well with the first. It was unfortunate for this critic that "Agis" was written before "Douglas," though it followed in succession of representation.
Murphy, who had been a student at St. Omer's, a clerk in a city bank, an unsuccessful actor, and a political writer; who, moreover, was refused a call to the bar by the benchers of the Temple and Gray's Inn, on the ground of his having been a player! but who was admitted by the less bigoted benchers of Lincoln's Inn,—feeling his way towards comedy illustrative of character, by farces descriptive of foibles, very humorously satirised the quidnuncs who then abounded, in his "Upholsterer, or What Next?" in which Garrick acted Pamphlet, as carefully as he did Ranger or King Lear.
But Garrick's chief concern was to replace Woodward, and in this he as nearly succeeded as he could expect, by engaging an Irish actor, O'Brien, who, in the early part of 1758-59 made his appearance as Captain Brazen, and, by the graceful way in which he drew his sword, charmed all who were not aware that his father was a fencing-master. He exulted in light comedy and young tragic lovers, for half-a-dozen years, after which he became the hero of a romance in life, and began to be ashamed of his calling.
The great incident of the season was the acting of Antony, by Garrick, to the Cleopatra of Mrs. Yates, but they gained even more laurels as Zamti and Mandane in the "Orphan of China," a tragedy, wherein small matters are handled in a transcendental style. But Mandane lifted Mrs. Yates to an equality with Mrs. Cibber; and Walpole, who spoke of Murphy, sneeringly, as a "writing actor," did him the justice to add that he was "very good company."
Then, Foote played Shylock! Wilkinson delighted everybody by his imitations, save the actors whom he mimicked, and Garrick took the "Pupille" of the Gallo-Irish Fagan, and polished it into the pretty little comedietta, the "Guardian," in which his Heartly showed what a man of genius could make of so small a part. Mozeen, who had left the law for the stage, found a bright opportunity for Miss Barton in his "Heiress;" and Dr. Hill showed the asinine side of his character by describing his farce of the "Rout" as by "a person of honour!"—
"For physic and farces, his equal there scarce is;
His farces are physic, his physic a farce is!"
So wrote Garrick of Hill, who was a clever man, but one who lacked tact and judgment, and got buffeted by men who had not a tithe of his zeal and industry. His chief defect lay in his intolerable conceit.
Dodsley's "Cleone," rejected by Garrick, became the distinction of the Covent Garden season of 1758-59. Ross played Sifroy, and Mrs. Bellamy the heroine. As a counter-attraction, Garrick essayed Marplot, in vain. "Cleone" is a romantic tragedy. The time is that of the Saracenic invasion of the south of France, and the story bears close resemblance to the legend of St. Genevieve, where a faithful young wife and mother suffers under unmerited charges of treason to her absent husband and her home. The author extended his drama from three acts to five, at the suggestion of Pope. Dr. Johnson subsequently looked upon it as the noblest effort made since the time of Otway! and Lord Chesterfield contributed advice which shows that stage-French was not of the best quality in those days. "You should instruct the actors," he said, "not to mouth out the oy in the name of Sifroy as though they were crying oysters." "People," writes Gray to Mason, "who depised 'Cleone' in manuscript, went to see it, and confess 'they cried so!'" Dodsley, after some flatness, "piled the agony" skilfully, and Mrs. Bellamy made hearts ache and eyes weep, for many successive glorious and melancholy nights.
The stage lost Mrs. Macklin this year, such an "old woman" as it was not to see again till the period of Mrs. Davenport. In October 1759,[83] too, Theophilus Cibber satisfied people that he was not born to be hanged. With Lord Drogheda and his son, Harlequin Mattocks,[84] Miss Wilkinson the wire-dancer, and a shipload of frippery, he was crossing the Irish Sea from Parkgate to Dublin, when the vessel was caught in a gale, and went down with all on board. Such was the end of a fair player and a sad rogue. Somewhere off the Scottish coast, whither the ship had been blown, perished Ancient Pistol, and the original George Barnwell. His sire, wife, and sister bore the calamity which had fallen upon him with philosophical equanimity.
On the retirement of Barry from London, Garrick travelled abroad, for a year, to recruit his health.[85] All the intervening time, till Barry returned, has the appearance of a season of truce. No great tragic actor arose to seize the wreath of either of the absent tragedians, though the town was seduced from its respective allegiances, for a moment, by the advent and bright promise of young Powell; and Walpole was eager to recognise a greater than Garrick in the aspiring city clerk.
Walpole was accustomed to describe Garrick as a mere machine, in whom the power to express Shakspeare's words with propriety, was absurdly held to be a merit! "On the night of Powell's first appearance, the audience," says Walpole, "not content with clapping, stood up and shouted." Walpole adds, that Powell had been clerk to Sir Robert Ladbroke, and "so clever in business, that his master would have taken him in as a partner; but he had an impulse for the stage. His figure is fine, and voice most sonorous, as they say, but I wait for the rebound of his fame, and till I can get in, but at present all the boxes are taken for a month." Walpole suppresses the fact that Garrick had not only selected Powell as his substitute, in his absence, but had carefully instructed him in the part of Philaster, and thereby helped him to the triumphant position which the younger actor, then twenty-eight years of age, held during the first of his few seasons, from 1763 to 1768, the year of poor Powell's death.
No new tragic poet of eminence now arose, nor did any old one increase his reputation. Home is supposed to have been thinking of the siege of Berwick when, in his "Siege of Aquileia," he pourtrayed our Edward under the figure of Maximin. Brooke's boasted purity of language and sentiment in his "Earl of Essex" was playfully crushed by Johnson. "Who rules o'er freemen should himself be free," was a line cited for its beauty, by Sheridan, the actor. "Who drives fat oxen should himself be fat," was the stupid comment of the lexicographer.
Farce flourished within this period,—supplied by the Rev. Mr. Townley, Garrick, Foote, Colman, and Murphy, the last of whom increased his fame by such comedies as the bustling, and yet monotonously bustling, "All in the Wrong," and the "Way to Keep Him." The authors of this period sought to correct faults and not to laugh at them. This, perhaps, gives a didactic turn to the plays of Murphy and Mrs. Sheridan, which renders them somewhat heavy when compared with the comedies of those who were rather among the wits, than the teachers, of their days. But a new brilliancy, too, was to be found in the later writers. Colman's "Jealous Wife," in which Garrick and Mrs. Pritchard were the Mr. and Mrs. Oakley, and the "Clandestine Marriage," principally Colman's, but in which Garrick had a share, were full of this brilliancy. With the exception of Hoadley's "Suspicious Husband," no modern comedy had such success as these. Every great actor still tries Mr. Oakley, and the noblest of old beaux has been the heritage only of the most finished of our comedians, from King, with whom it originated, down to Farren, with whom it seems to have died.
While the insolence of servants and the weaknesses of masters were satirised in "High Life below Stairs," a piece which George Selwyn was the gladder to see, as he was weary of low life above stairs—the disinterestedness of Irish wooers was asserted in Macklin's "Love à la Mode;" rascality, generally, was pummelled in Foote's "Minor;" novel-reading was proved to be perilous, in "Polly Honeycomb;" sharpers were exposed in Reed's "Register Office;" Platonic love was shown to be not without its dangers, in "The Deuce is in Him," and so on, with other pieces, than which none raised more laughter than the "Mayor of Garratt," in which Weston exhibited, in Jerry Sneak, the type of henpecked husbands, and Foote in Matthew Mug, a portrait of the Duke of Newcastle. Then Whitehead, in his "School for Lovers," wrote a dull play on society to show that society was dull; and Mrs. Sheridan, in the "Discovery," pointed to the absurdity of young married people being unhappy. Opera was making way at both houses, but especially at Covent Garden, where, with a few other novelties of no note, Arne's "Artaxerxes," superbly set, was as superbly sung, by Tenducci, Beard, and Arne's famous pupil, Miss Brent. Bickerstaffe's "Love in a Village" followed, warbled by Beard and Miss Brent, as Hawthorn and Rosetta, and made joyous by Shuter's Justice Woodcock. The same writer's "Maid of the Mill" succeeded, in which Mattocks played Lord Aimworth; Beard, Giles; and Miss Brent, Polly,[86] the latter with a joyousness that never dreamed of the coming penury and hunger.
Managers, however, catered drolly for the public. Thus, on the 12th of October 1758, when Mossop acted Richard III., Signor Grimaldi relieved the tragedy, by dancing comic dances between the acts! Garrick, nevertheless, was not idle. During Barry's absence, David added to his original characters, Lovemore, in "The Way to Keep Him," Æmilius ("Siege of Aquileia"); Oakley ("Jealous Wife"), Sir John Dorilant ("School for Lovers"), Farmer ("Farmer's Return"), Alonzo ("Elvira"), and Sir Anthony Branville ("Discovery"). In the last, he exhibited a new style, in a new character. "He seemed utterly to have extinguished his natural talents, assuming a dry, stiff manner, with an immovable face, and thus extracted from his pedantic object (who assumed every passion, without showing a spark of any in his action or features) infinite entertainment." Barry, meanwhile in Ireland, found that Sheridan had had a chequered time of it there. At one period, a course of prosperity; at another, he was the victim of gentlemen, from whose rude wooing he protected his actresses. The wooers called him "scoundrel-player." Sheridan answered that he was "as good a gentleman" as those who called him scoundrel; and, consequently, his life was not safe from these ruffians, who interrupted the performances, but against whom the collegians took side with the player. It was not until some blood was spilt, and the Lord Chief Justice, Ward, had condemned a young savage, named Kelly, to pay £500 fine and suffer three months' imprisonment, that peace was restored. At this trial, Kelly's counsel remarked, he had seen a gentleman-soldier and a gentleman-tailor, but had never seen a gentleman-player. "Sir," said Sheridan, with dignity, "I hope you see one now!"
Sheridan lost money, year after year, by paying excessive salaries to Woodward, the Macklins, and to operatic companies. Macklin and Mossop, together, nearly drove Sheridan mad; he was glad to be rid of both, and to find greater attraction in the beautiful Mrs. Woffington, who used to petition for kisses, once a year, and must have found little difficulty in procuring what she asked for, on her benefit nights.
At that time, nearly one hundred persons in the Lord Lieutenant's household claimed free admission, the government allowing £100 a year, as the price for which it was purchased! But prosperity attended Sheridan's management, nevertheless, till he neglected the stage for claret, toasts, songs, and aristocratic fellowship. Therewith came a quarrel with his public. The latter had encored a speech delivered by Digges, in "Mahomet," which contained a passage applicable, in a hostile sense, to the viceregal court. Sheridan forbade Digges repeating this speech a second time, on the next representation, and Digges declining to do so, when the audience demanded it, the latter, in inconceivable rage, pulled the interior of the house to pieces, destroyed all the properties they could reach, broke up the wooden fittings, and flinging the box-doors upon them, set fire to the whole mass! The building was rescued with difficulty.
After a time it was repaired, and Sheridan let it to Victor and Sowdon, who in the season of 1754-55 engaged Barry and Miss Nossiter; and it is to be remarked that of all the characters he played Macbeth was the most, and Henry V. the least, attractive. Romeo stood midway in profit between those two. Mossop was the hero of the succeeding season, with profit to the management, after which Sheridan resumed the control; but not till he had been compelled to undergo a great humiliation. Fearing for the safety of his house, he consented to make public apology for his previous conduct in the management, and Sheridan was then patronised by the public, till Barry and Woodward, in October 1758, opened a new theatre in Crow Street, and divided the patronage and the passions of the town. At Crow Street, there were Barry, young Mrs. Dancer, whom he afterwards married, Mossop, King, Woodward, and others. At Smock Alley, Mrs. Abington alone was a sufficient counter-attraction. But when Mossop passed over to manage Smock Alley, and the Countess of Brandon patronised him, in return for his permitting her to cheat him at cards, and Mrs. Bellamy joined the same troop, then Barry was put on his mettle; he secured Mrs. Abington and Shuter; and the town became as divided, and as furious and unreasonable, as if they were at issue on some point of religious belief. Mrs. Bellamy was arrested by a partisan of the adverse house, simply that she might be prevented from acting at the other; and the players were so often seduced from their engagements by the respective managers that the performers were sometimes called to go on the stage of one theatre when they were actually dressing at another! If Mossop chose "Othello" for his benefit one night, Barry was sure to have it for his own, on the same or the following evening. In short, the rival managers went on ruining each other. They exerted themselves, however, indefatigably, Barry playing even Macheath, and other operatic characters. He and Mossop, formed extravagant engagements with every great actor, save Garrick, whom they could win over, down to clever dogs, and intelligent monkeys. At the end of a seven years' struggle, Barry found that Dublin could not support two theatres, and leaving Mossop in possession of the field, he returned to London, having ruined himself and Woodward, and lost everything he possessed but his gentle humour, his suavity, his plausibility, and his hopes.
As a sample of Dublin theatrical life, in Barry's time, I cite the following passage from Gilbert's History of Dublin, and therewith close the subject for the present. "Dublin was kept in a state of commotion by the partisans of the rival theatres. As already noticed, the Countess of Brandon, with her adherents, attended constantly at Smock Alley, and would not appear at Crow Street; but Barry's tenderness in making love on the stage, at length brought the majority of the ladies to his house. Of the scenes which commonly occurred during this theatrical rivalry, on nights when some leading lady had bespoken a play, and made an interest for all parts of the house, particularly by pit and gallery tickets among her tradespeople, we have been left the following notice: The lady of the night goes early into the box-room to receive her company. This lady had sent out pit and gallery tickets to all her tradespeople, with the threatenings of the loss of her custom if they did not dispose of them; and the concern she was under, when the time was approaching for the drawing up the curtain, at the sight of a thin pit and galleries, introduced the following entertainment. The lady was ready to faint; and after smelling bottles were applied, she cried out, 'She was ruined and undone! She never would be able to look dear Mr. B. in the face any more, after such a shocking disappointment.' At many of these repeated lamentations, the box-keeper advanced and said: 'I beg your ladyship will not be so disheartened; indeed, your ladyship's pit will mend and your ladyship's galleries, too, will certainly mend, before the play begins!' At which the lady cried, 'Out, you nasty flattering fellow! I tell you I'm undone, ruined, and undone! that's all. But I'll be revenged. I am resolved. I'll pay off—No—I'll turn off all my saucy tradesmen to-morrow morning.'"
During Barry's absence, some excellent actors took their last farewell of the English stage. Of these I will speak in the next chapter.
Mr. Powell as Cyrus.